Document Type : Original Article
Authors
1
PhD Candidate in Islamic Art, Faculty of Art and Architect, Tarbiat Modarres University, Tehran, Iran.
2
Associate Professor, Department of Painting, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran.
Abstract
Intertextuality, a common term in literary and linguistic theories, was first proposed by Julia Kristeva, who is most closely associated with the views of structuralists and poststructuralists, as a method to study how literary texts are constructed and their interrelationships. Together, it has attracted the attention of researchers for the analysis and comparison of literary texts and works of art. The theory of intertextuality is based on the fact that a text, whether literary or non-literary, has a close relationship with other contemporary texts or texts from previous centuries, and is not independent. Gérard Genette is one of the most influential researchers in this field because he was able to define a specialized system for analyzing the meanings of texts, thereby bringing the theory of intertextual relations of texts out of the purely theoretical realm and making it practical. Genette’s field of study includes open structuralism, poststructuralism, and semiotics. The approach of Genette’s poly-textuality is to examine the relationship between two literary texts, so that the poly-text is not an interpretation of the pretext. With this definition, each text gains the ability to adapt to similar texts, presenting a new perspective on the different cultural and literary links to the audience. All arts can be studied and deciphered in an intertextual and trans-textual relationship with other works. In the post-modern period, it is not possible to discuss the originality and unity of a work of art, whether it is a painting or a novel, because all works of art are obviously composed of bits and pieces of pre-existing art. Hyper-textuality is the fifth type of genetic trans-textuality, and trans-textuality is a tendency that combines intertextuality and textuality, with two sides: one side includes new content that the author writes based on their personal thoughts. At the same time, the other retains the previously written content.
On the other hand, it is based on the previously written content, and from here, the conflict between the over-text and the pretext emerges. Therefore, most of the text is re-reading the pretext, and the reader must place themselves between these two aspects and pay attention to both of them in order to better understand a work. In this research, an attempt is made to provide a complete description of Genette’s trans-textuality. By leveraging the multifaceted nature of this theory, the similarities between the works of Ali Akbar Sadeghi and René Magritte are examined, along with the effectiveness of their application in Sadeghi’s works, which will also be explored. Ali-Akbar Sadeghi has been described as a “philosopher-painter” because he created his works based on the truth and reality of the outside world, as well as on his own internal conflicts and thoughts. Due to the influence of Western thought, Sadeghi has effectively combined Iranian painting techniques with Western painting, retaining the Eastern spirit as his signature in all his works. He himself emphasized the integration of his works with Western surrealism, Eastern mysticism, and imagination. The research method employed is descriptive-analytical, utilizing Genette’s concept of multi-textuality to analyze samples of the works of Ali-Akbar Sadeghi and René Magritte. Based on the obtained results, it can be acknowledged that Ali-Akbar Sadeghi, known as one of the contemporary artists of the pseudo-surrealist style in Iran, has incorporated many elements characteristic of Magritte’s works, a prominent artist in the Western surrealist style. Implicitly or explicitly, in his works, he has employed an Iranian approach by incorporating elements of national culture. The use of common pictorial elements, the repetition of subjects, and the method of combining images and placing elements within the image next to each other are among the similarities between the works of both artists. Sadeghi and Magritte have utilized signs to reveal the hidden layers of meaning in their work. The dialogue that begins with these signs in the text of the painting illustrates the impact and effect of color and other elements on the emotional load conveyed to the audience. Sadeghi has transformed the meaning of the image through subtle manipulations of texture, distance, and composition, as well as by adding or removing elements in the textual content, infusing his paintings with the spirit of Eastern and Iranian culture. While both Sadeghi and Magritte employ elements such as image inversion, face covering, and natural motifs (like clouds, trees, flowers, and apples), Sadeghi’s work distinguishes itself by incorporating Iranian symbols, including floral and geometric patterns, as well as traditional clothing.
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